The remains are not extensive, but they are enough to show that the building was arranged with strict symmetry round a courtyard (Fig. 49); another curious instance of the mixture of ancient methods of defence with modern effort after architectural effect. The chief material employed is brick, but the dressings are of stone with bold, simple mouldings. Ornament is very sparingly introduced; there are indications of diaper work in darker bricks, and these are also employed to trace a heraldic maunch in the walls of the towers, this being the cognizance of the Sir William Hastings who built the castle about the year 1460. Owing to its ruinous condition the place throws but little light on the domestic arrangements of the times. The gatehouse was clearly occupied by the guards; the corner tower evidently contained living rooms; both buildings are well supplied with latrines, or _garde-robes._ In all probability the great hall stood in the side opposite to the entrance. The chief interest of the house lies in its symmetrical plan and in its well-marked means of defence. [Illustration: 49. Kirby Muxloe. Block Plan.] With the close of the fifteenth century the necessity for anything like strong fortification disappeared; a new era was approaching in which men were to build for pleasure, comfort, cheerfulness, magnificence. The dark ages were past, the Renaissance was at hand. This, therefore, will be a convenient point at which to break off for a time the story of the growth of the house, and turn our attention to some of the features which lend interest to such dwellings as we have been considering. CHAPTER VI. MEDIÆVAL DOMESTIC FEATURES--DOORWAYS, WINDOWS, FIREPLACES, CHIMNEYS, ROOFS AND CEILINGS, STAIRCASES. The treatment of special features in domestic buildings was (as already pointed out) generally simpler than that of similar features in churches, although it followed much the same lines in both cases. On the whole, such things as doorways, windows, fireplaces, roofs and ceilings were handled in houses with much simplicity during the prevalence of the Gothic or mediæval styles. In this respect they present a striking contrast to the elaboration bestowed upon them in later years when houses were built for comfort and splendour, and when a study of the methods of the artists of the Renaissance enabled our English designers to indulge in determined efforts at magnificent design.